Monthly Archives: May 2014

Seannós (say shan-nose) means old style in Irish, and I have often wondered just how old old really is. The very first time I remember seeingIrish sean nós dancingwas in early 1989 at my very first Irish set dancing weekend in Donegal Town, Co.Donegal. The snow was all aflutter outside the big windows of the hotel ballroom and three auld fellas shuffled along, “doing a bit of shtep” during the céilí -that’s how I recall it. It was relaxed, simple, very rhythmic and obviously, memorable.

Picking up the thread from my last post Irish dance history: A contrary tale: Part 2 , I have been exploring more about the potential roots of Irish sean nós heritage, which it seems, may possibly originate from North Africa. Bob Quinn, in his 1981 documentary series The Atlanteans, illustrates his theory that dwellers on the West Coast of Ireland, particularly in Connemara, are not Celts but what he terms “Atlanteans”. They are ancient descendants of sea-faring people from Algeria and Morocco- the Berbers – who travelled all along the Atlantic coastline – West along Spain, Portugal, Basque country, Brittany in France and then North -West to Ireland – settled in parts and continued using the sea as a big super highway, that was much safer than travelling across land.

I found the evidence presented in the documentary compelling and curious, with potential multiple connections between ancient Irish and Berber civilisations starting with traditional singing, dancing & music, musical instruments including the Irish drum bodhrán which has a double in the Berber bandir, sailing boats – Galway Hookers with púcán sails & Felucca with lateen sails, stone circles, standing stones and carvings in similar contexts in both countries, art and fine jewellery pieces thought to be Celtic have an eery resonance in the Berber style, and on it goes. Have a look here for picture examples.

Irish dance history is difficult to pin down for many reasons, most likely because the culture was primarily oral – passed down through stories, songs and dances- with very little being written down.

Indeed, there are no less than four versions of the greatly loved Caledonian Set from Clare, and despite differences between districts, it appears that most dancers had difficulty recalling all aspects of that dance clearly.* (I will write more about why the Caledonian Setis the most perfect of all sets sneak preview below with some absolutely fabulous dancing:)

Indeed, Fintan Vallely in his book The Companion to Irish Traditional Music proposes that tunes, songs and dances that lasted the test of time were mostly those that were written down, and it appears that much of that was done, ironically, by the English.

In 1775, the Dr. Rev.Campbell wrote:

“I was at a dance in Cashel (Co. Tipperary) and the Irish boys and girls are passionately fond of dancing and they dance beautifully.

We frog-blooded English dance as if the practice was not congenial to us, but here in Ireland, they dance as if dancing was the one and only business in life.“ **

When I first started Irish step dancing classes as an adult in 1996, I felt happy and excited to be part of such of a complex and traditional style of dance. Mostly, I wanted to have fun and make a great sound with my feet.

I had no idea then that the complexity and tradition is truly a direct reflection of Irish history, and the connection with the Irish people, landscape and life in rural Ireland. There are twists and turns in the roads, boreens, hedges and ditches, private little snugs and back entrances, soft gentle pasture and roaring Atlantic westerlies.

What I have also come to appreciate is how convoluted and seemingly contrary the whole business of Irish culture and history really is, and that there is a story behind everything.